'Your name is not yours / once it’s in their mouth
'The highly anticipated follow up to the award-winning collection The Special, this electric new body of work by David Stavanger is a mix tape of free verse, lyric poetry, found text, spoken word and flash fiction documenting the lived/living mental health experience and the well beyond.'
Source: Publisher's blurb.
'This innovative full-length collection, drawing inspiration from the surrealist collage novels of Max Ernst, is an arresting and utterly unique assemblage of poetry, collage and photography. In two parts, the book engages with themes of travel and exploration, language and loss, identity and originality, as well as the relationship between poetry and other disciplines: the visual arts, history, literature and film. Polyglot in sensibility and content, and daring in construction, Argosy defies categorisation. Grounded firmly in Australian contemporary poetic practice, the book is also outward-looking in its approach to form and content; it constitutes a landmark in both local and international poetics.' (Publication Summary)
'A haunting visit to the International Museum of Slavery, in Liverpool, England. A feisty young black girl pushing back against authority. The joy and despair of single parenthood. A love-hate relationship with words.
'This collection brings the best of a decade-long international poetry career to the page.' (Publication summary)
'Crankhandle is the latest part of an ongoing Notebooks series, the first part of which was published as Sidetracks: Notebooks 1976–1991 (Auckland University Press 1998). Between Sidetracks and Crankhandle comes a longer unpublished section, Melbourne Journal: Notebooks 1998–2003, begun when I first came to Australia. From the beginning, these writings were never seen as notes or sketches towards poems that were yet to be fully realised – each entry was intended to be as finished an act of writing as any other, longer, individual work.
'Over the nearly forty years of this endeavour, there have of course been gaps, but the Notebooks provide a way for me to be quickly attentive to my environment, and to circumstances of wherever I might happen to be sitting, standing, waiting, travelling at any time. Perhaps one could speak of the individual pieces as ‘fragments’, but they are not fragments in the way that ancient Greek poetry has come to us on torn, worn, eaten, half-destroyed bits of papyrus. If these works are fragments, then each of Ezra Pound’s cantos are also fragments, placed against the totality of all poetry, from all over the planet, and from throughout recorded world history. In this sense, fragments are all we have, and will ever have. If some are very long and some very short, then that is simply how things are.
–Alan Loney' (Publication summary)
'The Beautiful Anxiety continually breaks across boundaries of the intimate and the global in an invigorating and unsettling mix of materialist and speculative writing on the interconnectedness of life amidst the environmental and cultural turmoil of the 21st century. The poems are in turn provocative, tender, impatient, playful, and swerve through the world, awake to its lostness as well as its ‘flesh and spark’.' (Publisher's blurb)
'With Armour, the great Australian poet John Kinsella has written his most spiritual work to date - and his most politically engaged. The world in which these poems unfold is strangely poised between the material and the immaterial, and everything which enters it - kestrel and fox, moth and almond - does so illuminated by its own vivid presence: the impression is less a poet honouring his subjects than uncannily inhabiting them. Elsewhere we find a poetry of lyric protest, as Kinsella scrutinizes the equivocal place of the human within this natural landscape, both as tenant and self-appointed steward.
'Armour is a beautifully various work, one of sharp ecological and social critique - but also one of meticulous invocation and quiet astonishment, whose atmosphere will haunt the reader long after they close the book.' (From the publisher's website.)
'Urban Myths: 210 Poems brings the best work to date from a poet considered one of the most original of his generation in Australia, together with a generous selection of new work. Smart, wry and very stylish, John Tranter’s poems investigate the vagaries of perception and the ability of language to converge life, imagination and art so that we arrive, unexpectedly, at the deepest human mysteries.' (Publication summary)
'Anything the Landlord Touches was Emma Lew's second collection to be published in Australia, where it was published by Giramondo of Newcastle, NSW, in 2002. The book won the C.J. Dennis Prize for Poetry (the Victorian State Premier's award for poetry), and the Judith Wright Calanthe Award (the Queensland Premier's Prize for Poetry), two of the main literary prizes in the country, and was also short-listed for The Age award and the NSW and South Australian Premier’s Literary Prizes. Her first collection, The Wild Reply (Black Pepper Press, 1997) won The Age award. Emma Lew's poetry is marked by the pungency of her language and the dramatic intensity of her poems, often couched in the form of estranged monologues. Her lines can sometimes seem disconnected, but the pile-up of effects works like a montage, and the skewed observations circle their subject, searching for the core reality at the heart of the poem. This book is published in the UK and the USA by arrangement with Giramondo Publishing.' (Publication summary)
'In this collection of poems, farmers, fathers, poverty-stricken pioneers, and people blackened by the grist of the sugar mills are exposed to the blazing midday sun of Murray's linguistic powers. Richly inventive, tenderly perceptive, and fiercely honest, these poems surprise and bare the human in all of us.' (Publication summary)
The book's sections, with their subtly seasonal patterning, are designed to complement each other and to enrich the reader's imagination through the exacting precision of a style distinguished by its dextrous control. (Source: back cover)